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  • A Hard Road A Hard Road Quick View

    $24.99
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    A Hard Road

    Mono Edition


    1967s A Hard Road proved to be every bit as powerful and innovative as its predecessor, thanks in large part to Mayalls discovery of Claptons equally brilliant replacement, Peter Green. A one-of-a-kind player with a highly distinctive sound, Green makes his instrumental presence felt throughout A Hard Road, while delivering compelling lead vocals on You Dont Love Me and The Same Way. With sterling support from bassist John McVie and drummer Aynsley Dunbar, the material here features such Mayall originals as Hit the Highway, Leaping Christine and the title track, along with standout interpretations of tunes by Freddie King, Elmore James and Willie Cobbs. The legendarily haunting Green-penned instrumental The Supernatural previews the guitarists groundbreaking work with the original incarnation of Fleetwood Mac, which he and fellow Bluesbreaker John McVie would form a few months later.


    From the pristine U.K. mono masters, with complete original artwork and photos.

    1. A Hard Road
    2. It's Over
    3. You Don't Love Me
    4. The Stumble
    5. Another Kind Of Love
    6. Hit The Highway
    7. Leaping Christine
    8. Dust My Blues
    9. There's Always Work
    10. The Same Way
    11. The Supernatural
    12. Top Of The Hill
    13. Someday After A While (You'll Be Sorry)
    14. Living Alone
    John Mayall
    $24.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Burnin' Burnin' Quick View

    $24.99
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    Burnin'

    The Wailers' fourth album overall, Burnin', was their second for Island Records, released only six months after its predecessor, Catch a Fire. Given that speed, it's not surprising that several tracks -- Put It On, Small Axe, and Duppy Conqueror -- are re-recordings of songs dating back a few years. But they fit in seamlessly with the newer material, matching its religious militancy and anthemic style.


    The confrontational nature of the group's message is apparent immediately in the opening track, Get Up, Stand Up, as stirring a song as any that emerged from the American Civil Rights movement a decade before. The Wailers are explicit in their call to violence, a complete reversal from their own 1960s Simmer Down philosophy. Here, on Burnin' and Lootin', they take issue with fellow Jamaican Jimmy Cliff's song of the previous year, Many Rivers to Cross, asking impatiently, How many rivers do we have to cross/Before we can talk to the boss? I Shot the Sheriff, the album's most celebrated song, which became a number one hit in the hands of Eric Clapton in 1974, claims self-defense, admits consequences (If I am guilty I will pay), and emphasizes the isolated nature of the killing (I didn't shoot no deputy), but its central image is violent.


    Such songs illuminated the desperation of poor Jamaican life, but they also looked forward to religious salvation, their themes accentuated by the compelling rhythms and the alternating vocals of the three singers. Bob Marley was a first among equals, of course, and after this album his partners, Peter Tosh and Bunny Wailer, quit the group, which thereafter was renamed Bob Marley and the Wailers.

    1. Get Up, Stand Up
    2. Hallelujah Time
    3. I Shot The Sheriff
    4. Burnin' And Lootin'
    5. Put It On
    6. Small Axe
    7. Pass It On
    8. Duppy Conqueror
    9. One Foundation
    10. Rastaman Chant
    Bob Marley
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Johnny Winter (Speakers Corner) Johnny Winter (Speakers Corner) Quick View

    $34.99
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    Johnny Winter (Speakers Corner)

    When an international weekly magazine calls a musician the »white pope of black art«, then it sounds suspiciously like charitableness towards a blues musician in his prime, whose good years are in the past. As if! In the case of Johnny Winter, the reviews of his 2011 tour were just as glowing as in his early years, when Rolling Stone magazine described the gaunt Mississippi bard as »a cross-eyed albino with long fleecy hair playing some of the gutsiest fluid blues guitar you have ever heard«. Intentional or not: Winter was able to win for himself some of the 'rocker' laurels that were reserved for the young Eric Clapton and Jimi Hendrix. But Winter let everyone know that he was only interested in the blues, gutsy, evoking Howlin' Wolf's and Muddy Waters' growling groove, yet nimble-fingered enough on the strings to conjure up astoundingly sleek garlands of sound that fit precisely into each bar of music.



    Winter remains pretty cool when people attempt to identify personal afflictions in his music: When I play blues, I feel good he stated recently to a journalist. That the same goes for over 40 years ago is substantiated by both sides of this debut album.



    Musicians:



    • Johnny Winter (guitar, harmonica, vocal)

    • Edgar Winter (piano, alto saxophone)

    • Albert Wynn Butler (tenor saxophone)

    • Karl Garin (trumpet)

    • Norman Ray (bassoon)

    • Walter 'Shakey' Horton (harmonica)

    • Willie Dixon (bass)

    • Tommy Shannon (bass)

    • 'Uncle' John Turner (drums, percussion)



    Recording: 1969

    Production: Johnny Winter





    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    1. I'm Yours & I'm Hers
    2. Be Careful With a Fool
    3. Dallas
    4. Mean Mistreater
    5. Leland Mississippi Blues
    6. Good Morning Little School Girl
    7. When You Got A Good Friend
    8. I'll Drown In My Tears
    9. Back Door Friend
    Johnny Winter
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • To Bonnie From Delaney (Speakers Corner) (Pre-Order) To Bonnie From Delaney (Speakers Corner) (Pre-Order) Quick View

    $34.99
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    To Bonnie From Delaney (Speakers Corner) (Pre-Order)

    The married couple and musical duo Delaney & Bonnie ignited critics, fans and famous musical colleagues to veritable bursts of exultation. Mick Jagger of the Rolling Stones talked matter-of-factly of »convincing white gospel song«, while Eric Clapton regarded the duo as the »best pop band in the world«. Clapton's enthusiasm went so far that he invited the pair to accompany him on a peaceful tour of Europe and was booed by German fans because he stood in the background as a mere accompanist and did not play any solos. The master of the guitar may have had good reasons for staying out of the limelight, if one is to believe the Chicago Daily News, who declared that Delaney & Bonnie were better than Aretha Franklin and Ray Charles together.


    Indeed the combined voices in the arrangements are so closely knit that there is not a millimeter of space between the singer and backing. In Hard Luck And Troubles, a dry cantankerous groove, the vocals cling to a sinewy bass line, crisscrossed by short chords on the organ. Gospel is celebrated spiritually, yet not too much so, in a rocking, rhythmic and dense interplay between the soloist and chorus. And what is more: the great ballad, hovering above a vibrating carpet of sound on the organ (The Love Of My Man) and crisp, firm winds (Alone Together) are included in this exquisite collection of great and even great songs.


    This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.


    Musicians:



    • Delaney Bramlett (guitar, vocals)

    • Bonnie Bramlett (vocals)

    • Duane Allman (guitar)

    • Little Richard (piano)

    • Jim Gordon (keyboard)

    • Tommy McClure (bass)

    • Sammy Creason (drums)

    • Sam Clayton (conga)

    • Alan Estes (conga, percussion)

    • Jerry Jumonville (alto saxophone)

    • King Curtis (tenor saxophone) & The Memphis Horns




    Recording: 1970 at Decca Studios, New York, by Don Casale, and Atlantic South-Criteria Studios, Miami Fl., by Ron Albert & Chuck Kirkpatrick

    Production: Delaney Bramlett, Jerry Wexler and Tom Dowd





    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.


    1. Hard Luck And Troubles
    2. God Knows I Love You
    3. Lay Down My Burden
    4. Medley: Come On In My Kitchen / Mama, He Treats Your Daughter Mean / Going Down The Road Feeling Bad
    5. The Love Of My Man
    6. They Call It Rock & Roll Music
    7. Soul Shake
    8. Miss Ann
    9. Alone Together
    10. Living On The Open Road
    11. Let Me Be Your Man
    12. Free The People
    Delaney & Bonnie & Friends
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Concert For George (Live at Royal Albert Hall) Concert For George (Live at Royal Albert Hall) Quick View

    $124.99
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    Concert For George (Live at Royal Albert Hall)


    Released For The First Time Ever On Vinyl


    Featuring A Special Mandala-Design Etched On Side-8


    Includes The Complete Sound Recordings From The Concert, The First Time That All Songs Have Been Made Available On An Audio Configuration


    On November 29, 2002, one year after the passing of George Harrison, Olivia Harrison and longtime friend Eric
    Clapton organized a performance tribute in his honor. Held at London's Royal Albert Hall, the momentous evening
    featured George's songs, and music he loved, performed by a lineup that included Clapton, Jeff Lynne, Paul McCartney,
    Tom Petty, Monty Python, Billy Preston, Jools Holland, Ravi and Anoushka Shankar, Joe Brown, Ringo Starr,
    Dhani Harrison and many more.


    In honor of George Harrison's 75th birthday, the Grammy®-winning
    release CONCERT FOR GEORGE, will be available for the first time on vinyl, released as a 4-LP Box Set.

    LP 1
    1. Sarve Shaam - Traditional Prayer
    2. Your Eyes - Anoushka Shankar
    3. The Inner Light - Jeff Lynne & Anoushka Shankar
    4. Arpan - Conducted by Anoushka Shankar


    LP 2
    1. The Lumberjack Song - Monty Python with Tom Hanks
    2. Sit On My Face - Monty Python
    3. I Want To Tell You - Jeff Lynne
    4. If I Needed Someone - Eric Clapton
    5. Old Brown Shoe - Gary Brooker
    6. Give Me Love - Jeff Lynne
    7. Beware Of Darkness - Eric Clapton
    8. Here Comes The Sun - Joe Brown
    9. That's The Way It Goes - Joe Brown
    10. Horse To The Water - Jools Holland & Sam Brown
    11. Taxman - Tom Petty and the Heartbreakers


    LP 3
    1. I Need You - Tom Petty and the Heartbreakers
    2. Handle With Care - Tom Petty and the Heartbreakers with Jeff Lynne & Dhani Harrison
    3. Isn't It A Pity - Billy Preston
    4. Photograph - Ringo Starr
    5. Honey Don't - Ringo Starr
    6. For You Blue - Paul McCartney
    7. Something - Paul McCartney & Eric Clapton
    8. All Things Must Pass - Paul McCartney
    9. While My Guitar Gently Weeps - Paul McCartney & Eric Clapton


    LP 4
    1. My Sweet Lord - Billy Preston
    2. Wah Wah - Eric Clapton & Band
    3. I'll See You In My Dreams - Joe Brown

    Various Artists
    $124.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 4 LPs Sealed Buy Now
  • Beck-Ola Beck-Ola Quick View

    $28.99
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    Beck-Ola

    Jeff Becks position in the pantheon of great electric guitarists is indisputable. As visionary a musician as Jimi Hendrix, Beck made his name as the second of three hall of fame stringbenders for the legendary Yardbirds (following in the Slowhand shoes of Eric Clapton and preceding the pre-Zep/session gigging Jimmy Page). Known for his blistering leads and the wild chances he took as one of the first axemen to widely employ feedback during a solo, Beck immediately launched his solo career upon leaving the Yardbirds in 1967. Together with vocalist Rod Stewart and multi-instrumentalist Ron Wood on bass, he cut a pair of albums that expanded on the greatness of his previous work.


    A year after Truth, Beck & company returned with the even thicker sound of Beck-Ola, an album often sited as one of heavy metals firestarters. Along with Stewart, Wood and pile-driving new drummer Tony Newman, the album features the inspired addition of storied session man Nicky Hopkins on keyboards. Hopkins added welcome texture to the albums seven tracks, most notably on the Hopkins-composed Girl From Mill Valley. Elsewhere, group tears through two Elvis Presley covers and four band compositions with an intensity that practically leaps from the stylus to the speakers.


    Could a band this heavy, this hard-hitting last? Unfortunately no, it could not. Following the completion of the album, the group splintered on the eve of the Woodstock festival with Stewart and Wood leaving to join the Faces. Of course, Beck went on to future triumphs in a variety of genres and styles and Stewart and Wood found wider fame and fortune as well. How fortunate, then, that we have this time capsule from June, 1969, to document their seminal collaboration. Relive those electrifying moments on this superb Sundazed Music reissue, sourced directly from the original Epic analog session tapes and purposely pressed on high-definition vinyl. Its guaranteed to leave you All Shook Up!

    1. All Shook Up
    2. Spanish Boots
    3. Girl From Mill Valley
    4. Jailhouse Rock
    5. Plynth (Water Down the Drain)
    6. The Hangman's Knee
    7. Rice Pudding

    Jeff Beck
    $28.99
    Vinyl LP - Sealed Buy Now
  • Beck-Ola (Deluxe Edition) Beck-Ola (Deluxe Edition) Quick View

    $31.99
    Buy Now
    x

    Beck-Ola (Deluxe Edition)

    Deluxe Edition 180 Gram Audiophile Green Vinyl With Gatefold Cover


    Jeff Becks position in the pantheon of great electric guitarists is indisputable. As visionary a musician as Jimi Hendrix, Beck made his name as the second of three hall of fame stringbenders for the legendary Yardbirds (following in the Slowhand shoes of Eric Clapton and preceding the pre-Zep/session gigging Jimmy Page). Known for his blistering leads and the wild chances he took as one of the first axemen to widely employ feedback during a solo, Beck immediately launched his solo career upon leaving the Yardbirds in 1967. Together with vocalist Rod Stewart and multi-instrumentalist Ron Wood on bass, he cut a pair of albums that expanded on the greatness of his previous work.


    A year after Truth, Beck & company returned with the even thicker sound of Beck-Ola, an album often sited as one of heavy metals firestarters. Along with Stewart, Wood and pile-driving new drummer Tony Newman, the album features the inspired addition of storied session man Nicky Hopkins on keyboards. Hopkins added welcome texture to the albums seven tracks, most notably on the Hopkins-composed Girl From Mill Valley. Elsewhere, group tears through two Elvis Presley covers and four band compositions with an intensity that practically leaps from the stylus to the speakers.


    Could a band this heavy, this hard-hitting last? Unfortunately no, it could not. Following the completion of the album, the group splintered on the eve of the Woodstock festival with Stewart and Wood leaving to join the Faces. Of course, Beck went on to future triumphs in a variety of genres and styles and Stewart and Wood found wider fame and fortune as well. How fortunate, then, that we have this time capsule from June, 1969, to document their seminal collaboration. Relive those electrifying moments on this superb Sundazed Music reissue, sourced directly from the original Epic analog session tapes and purposely pressed on high-definition vinyl. Its guaranteed to leave you All Shook Up!

    1. All Shook Up
    2. Spanish Boots
    3. Girl From Mill Valley
    4. Jailhouse Rock
    5. Plynth (Water Down the Drain)
    6. The Hangman's Knee
    7. Rice Pudding

    Jeff Beck
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Betty Davis (Awaiting Repress) Betty Davis (Awaiting Repress) Quick View

    $20.99
    Buy Now
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    Betty Davis (Awaiting Repress)

    One can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can't be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music.


    There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago - we live in an age that's been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn't get sexy with their "Lady Marmalade" for another year while Millie Jackson wasn't "Feelin' Bitchy" until 1977. Even Tina Turner, the most obvious predecessor to Betty's fierce style wasn't completely out of Ike's shadow until later in the decade.


    Ms. Davis's unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song "Uptown" for the Chambers Brothers before marrying Miles Davis in the late '60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix - personally inspiring the classic album 'Bitches Brew.'


    But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty's career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn't fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal.


    In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as "If I'm In Luck I Might Get Picked Up" and "Game Is My Middle Name." The album Betty Davis was recorded with Sly & The Family Stone's rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters.

    1. If I'm In Luck I Might Get Picked Up
    2. Walkin Up The Road
    3. Anti Love Song
    4. Your Man My Man
    5. Ooh Yeah
    6. Steppin In Her I. Miller Shoes
    7. Game Is My Middle Name
    8. In The Meantime
    Betty Davis
    $20.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Blues of Desperation (Awaiting Repress) Blues of Desperation (Awaiting Repress) Quick View

    $34.99
    Buy Now
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    Blues of Desperation (Awaiting Repress)

    GRAMMY-nominated blues-rock guitar icon Joe Bonamassa announces his 20160solo album, Blues of Desperation (J&R Adventures). Like his previous solo disc, 2014's Top 10 Billboard hit Different Shades of Blue, this record features all-original material, and it sees the maverick superstar guitarist, singer and songwriter tossing away the rule book as he continues to reinvent and redefine the blues-rock genre like no other artist working today.


    I want people to hear my evolution as a blues-rock musician, says Bonamassa, somebody who isn't resting on accomplishments and who is always pushing forward and thinking about how music can evolve and stay relevant.


    The writing sessions for Blues of Desperation took Bonamassa back to Nashville, where he'd composed Different Shades of Blue, to work with some of Music City's top tunesmiths, people like James House, Tom Hambridge, Jeffrey Steele, Jerry Flowers and Gary Nicholson.


    These are some of the best guys in the business, Bonamassa raves. Lyrically, you'll hear the proverbial trains, mountains, valleys and other blues references about heartbreak and loneliness but there are also some poignant moments about getting away from the stressful, crazy demands of life and losing yourself with your special someone. I think anybody will be able to relate.


    Bonamassa and his longtime producer Kevin Shirley (Led Zeppelin, Iron Maiden, Journey) convened at Nashville's Grand Victor Sound Studios (formerly known as RCA Studio A), and during an intense, five-day period they recorded 11 galvanizing songs with a crack group of musicians including drummers Anton Fig and Greg Morrow, bassist Michael Rhodes, keyboardist Reese Wynans, horn players Lee Thornburg, Paulie Cerra and Mark Douthit, and background singers Mahalia Barnes, Jade McRae and Juanita Tippins.


    Of his decade-long collaboration with Shirley, Bonamassa says, I can explain our relationship with one word - 'trust.' I completely trust in Kevin and his musical promptings. He pushes my musical ability by challenging me to not just rest on my laurels or settle for 'good.' He expects more out of the other musicians as well and will not hold back when he sees us falling back into our usual routine.


    Which sometimes calls for unorthodox measures, says Shirley, who admits that his idea of augmenting Bonamassa's usual recording band with second drummer Morrow was engineered to ruffle Joe's feathers.


    I wanted him to work a little harder, like in his early years, he says, so I brought in an additional drummer, just to throw the cat amongst the pigeons. Of the results, Shirley raves, Recording 'Blues of Desperation' is one of the most exciting recording projects I've done. What a joyful noise we made!


    Blues of Desperation is Bonamassa's most powerfully diverse and boldly realized album yet, with the material ranging from the gutsy, gritty blues call to arms of This Train (Joe's guitar is set to rude throughout) to the elegant yet emotionally shattering ballad What I've Known for a Very Long Time to the soul-nourishing, acoustic-based Americana of The Valley Runs Low, on which Bonamassa's voice rises up majestically to meet Barnes, McRae and Tippins in gospel-like rapture. And then there's the bleary, tequila-soaked Drive, dripping with the kind of raw, wicked and unsettling sensuality that could make David Lynch green with envy.


    Throughout the record, Bonamassa's epic guitar playing conjures up stirring benedictions and explosive exorcisms of sound. No Good Place For the Lonely features some of the guitarist's most cauterizing licks yet, and the walloping title track is a white-knuckled, six-string thrill ride guaranteed to jolt the senses. Guitar fans everywhere (like those who recently voted Bonamassa Best Blues Guitarist in Guitar World magazine by an overwhelming margin) will consider Blues of Desperation a treasure trove of axe riches.


    There are some long solos on this record and even some mini-jams in the middle of a track where the band would just jive and crank it out, he says. [During those jams], we do a tip of the hat to Beck and Clapton from the '70s. I think guitar nerds and music fans like myself will love it.


    Packed with unparalleled musicianship and teeming with the most enthralling collection of songs in Bonamassa's career, Blues of Desperation is guaranteed to knock out critics and fans alike. By exceeding his own vertiginously high artistic goals, Bonamassa is bound to shatter all other expectations with this record and reach new audiences - no mean feat when you continue his astonishing track record of hits now includes 15 #1 Billboard Blues Albums (more than any other artist in history). 2014's Different Shades of Blue debuted at #8 on Billboard's Top 200 Chart, making it his highest charting album, his first top 10 and accounting for his biggest sales week ever. In 2014, the guitarist received his first-ever Grammy nomination (for Best Blues Album) for the album Seesaw, his second collaboration with blues singing star Beth Hart, and was named 2014's Billboard Blues Artist of the Year.

    1. This Train
    2. Mountain Climbing
    3. Drive
    4. No Good Place For The Lonely
    5. Blues Of Desperation
    6. The Valley Runs Low
    7. You Left Me Nothin' But The Bill And The Blues
    8. Distant Lonesome Train
    9. How Deep This River Runs
    10. Livin' Easy
    11. What I've Known For A Very Long Time
    Joe Bonamassa
    $34.99
    180 Gram Audiopbhile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • The Blues Giant (Pure Pleasure) The Blues Giant (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Blues Giant (Pure Pleasure)

    Buddy Guy is arguably the most distinctive, electrifying guitarist in Blues history. On a good night, there is no player in the world who can match him. But for all of Guy's talent, unfortunately there are few studio recordings that document his genius. Producers have always wanted him either to sound old-fashioned (i.e., the '50s Chess Chicago Blues sound) or too modern (i.e., some abberation of Jimi or Clapton).



    Buddy was only produced properly one time: and the result is this album. After several mediocre albums in the '60s and '70s, someone finally let Buddy play in the studio with the creative, reckless abandon that, when playing live, has ignited every building in which he has ever played. This IS Buddy Guy!



    Musicians:



    • Buddy Guy (guitar, vocal)

    • Phil Guy (guitar)

    • J. Williams (bass)

    • Ray Allison (drums)



    Recording: October 1979 at Condorcet Studio, Toulouse (France) by Francois Porterie

    Production: Didier Tricard




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.


    1. I Smell a Rat
    2. Are You Losing In Your Mind
    3. You've Been Gone Too Long
    4. She Is Out There
    5. Outskirts of Town
    6. When I Left Home
    Buddy Guy
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • American Folk Blues Festival 1964 (Pure Pleasure) American Folk Blues Festival 1964 (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    American Folk Blues Festival 1964 (Pure Pleasure)

    German jazz publicist Joachim-Ernst Berendt first had the idea of bringing original African-American blues performers to Europe. Jazz had become very popular, and rock and roll was just gaining a foothold, and both genres drew influences directly back to the blues. Berendt thought that European audiences would flock to concert halls to see them in person.



    Promoters Horst Lippmann and Fritz Rau brought this idea to reality. By contacting Willie Dixon, an influential blues composer and bassist from Chicago, they were given access to the blues culture of the southern United States. The first festival was held in 1962, and they continued almost annually until 1972, after an eight-year hiatus reviving the festival in 1980 until its final performance in 1985.
    The concerts featured some of the leading blues artists of the 1960s, such as Muddy Waters, Howlin' Wolf, Willie Dixon, John Lee Hooker and Sonny Boy Williamson along with blues legends from an earlier period such as Sleepy John Estes, John Henry Barbee & Lightnin' Hopkins.



    Attendees at Manchester in 1962, the first ever venue for the festival in Britain, included Mick Jagger, Keith Richards, Brian Jones and Jimmy Page. Subsequent attendees at the first London festivals are believed to have also included such influential musicians as Eric Burdon, Eric Clapton, and Steve Winwood. Collectively these were the primary movers in the blues explosion that would lead to the British Invasion.



    Musicians:



    • Sonny Boy Williamson (vocal, harpsichord)

    • Hubert Sumlin (guitar)

    • Willie Dixon (bass)

    • Clifton James (drums)

    • Sunnyland Slim (vocal, piano)

    • Sam Lightnin' Hopkins, Howlin' Wolf (guitar, vocal)

    • Hammie Nixon (harpsichord, jug)




    Recording: October 1964 live at Musikhalle Hamburg, Germany, by Peter Kramper

    Production: Siegfried E. Loch



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

    1. I'm Trying To Make London My Home
    2. Dissatisfied
    3. Everytime I Get To Drinkin'
    4. Ain't It A Pity
    5. Baby Please Don't Go
    6. I'm A Tearing Little Daddy
    7. Cotton Pickin' Blues
    8. No Title Boogie
    9. Slip In Mules
    10. Dust My Broom
    Various Artists
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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